zorro, they made the correction:
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pmfg_pan — 10 years ago(December 23, 2015 10:50 AM)
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jlent — 10 years ago(December 31, 2015 05:24 AM)
And it's too bad the other guy couldn't pronounce her name, but he gets points for screwing it up three times with such conviction each time.
None of that namby-pamby deer in the headlights Dennis Quaid "Sheshah" nonsense. -
Steve7216 — 10 years ago(January 02, 2016 09:31 AM)
The Examiner.com critics who are all over the country got together for their best in film. There are many categories, but here is one critics take on his favorite performance:
From: Brian Zitzelman:
Saoirse Ronan as Eilis in Brooklyn gets my nod. It is a performance of deceiving simplicity, with humor, tenderness and great grief laced into its heart. There was a lot of talk last year about Boyhood depicting a boy growing up and becoming a man literally in front of our eyes. Ronan manages to convey that feeling in two hours, even if she probably only physically aged a couple of months. The transformation of innocent, confused young woman to confident, proud adult is quite a feat to behold in Ronans capable hands.
Mr. Zitzelman writes for The Seattle Movie Examiner. -
Steve7216 — 10 years ago(January 02, 2016 10:28 AM)
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Steve7216 — 10 years ago(January 04, 2016 04:15 AM)
Brooklyn is now up to
178
fresh out of 181 total reviews on RT. Enjoy it because one doesn't often see a 98% rated film with nearly 200 counted reviews. Here is a new one:
Brooklyn
Review by Robert Denerstein
published November 24, 2015
Eilis Lacey spends a good deal of Brooklyn, the movie derived from a 2009 novel by Colm Toibin, in a disoriented state. A girl from Enniscorthy, County Wexford, Eilis travels to the U.S. in 1951 after her older sister Rose arranges for her to leave Ireland.
Eilis makes the trip, but it is not yet her journey. And thats the basis of a coming-of-age movie that embraces an old-fashioned style that files the roughest edges off its story, but allows its central performance to carry us along with it.
Brooklyn focuses on young Eilis, beautifully played by Saoirse Ronan, familiar to moviegoers from movies such Atonement, The Lovely Bones and Hanna.
Ronan inhabits her character so thoroughly, it seems as if were watching a flower break ground, stretch to meet the suns warmth and eventually bloom.
Without affectation or undue showiness,
Ronan manages to carry a movie that spans the distance between two very different worlds.
When Eilis arrives in the U.S., she takes up residence in a boarding house run by Mrs. Keough (Julie Walters), a good-hearted woman who also happens to have a dictatorial streak when it comes to the women who live in her home.
Gradually, Eilis begins to encounter the new life into which she has been thrust. Shes helped by a local priest who cares about her welfare and who is portrayed by Jim Broadbent without a trace of cynicism.
Eventually, Eilis lands a job as a clerk at a department store and begins studying accounting. She also meets Tony (Emory Cohen), a young Italian man who works as a plumber but who along with his bothers hopes to start a construction business that will relocate his family to Long Island.
As the story develops, Ronan begins to taste the freedom and sense of possibility that her sister (Fiona Glascott) so ardently wishes for her. She even learns to hold her own at the table with other women who board with Mrs. Keough.
Eventually, Eilis learns that Rose has passed away. Before Eilis returns to Ireland to comfort her grieving mother, Tony insists that they marry. He wants to make sure that shell come back to him.
Eilis agrees, but we dont know exactly how committed she is to this marriage; shes still living her sisters dream, not her own.
Back in Ireland, Eilis begins to see a side of life she never experienced while growing up.
Instead of the world narrowing, it suddenly seems to be opening. Not knowing that Eilis is married, one of the towns bachelors (Domhnall Gleeson) begins to pursue her. She lands a part-tida0me job, and comforts a mother who has known her share of grief.
Obviously, Eilis eventually must make up her mind about whether to remain in Ireland or return to the U.S. and resume the life that seemed to offer her so much.
Director John Crowley must have sensed that Ronan could keep the movie on track, so he supports her with nostalgic period design and allows the story to unfold without undue fuss. Nick Hornbys script is both economical and respectful of its characters.
Well-cast and nicely appointed, Brooklyn might be one of the least cynical movies of the year, an engagingly wide-eyed look at a world in which a young woman learns that she has something to say about the way her life will unfold.
The movies modesty and Ronans lovely performance make it a pleasure to watch.
http://tinyurl.com/ja7vbnx
For 27 years, Robert Denerstein was the film critic at The Rocky Mountain News. Read more of Robert's reviews at Denerstein Unleashed. -
Steve7216 — 10 years ago(January 05, 2016 05:50 PM)
Ariel Shavonne
@mermaidgal24
@davekarger
Can Saoirse Ronan win Best Actress?
1:23 PM - 5 Jan 2016
Dave Karger @davekarger 4h4 hours ago
@mermaidgal24
If Brooklyn has a strong showing overall, yes.
Wouldn't that be amazing?
mia farrowVerified account @MiaFarrow 12m12 minutes ago
Brooklyn the movie is wonderful. Eac2000h performance is true - and Saoirse Ronan is brilliant -
Steve7216 — 10 years ago(January 23, 2016 04:37 AM)
This one is from RT:
Super Reviewer
Glenn G November 27, 2015
LUCKY CHARMED - My Review of BROOKLYN (4 1/2 Stars)
I'm not familiar with director John Crowley's previous work, but if the stellar, emotionally overpowering BROOKLYN is any indication, then he's definitely worth investigating. It doesn't hurt that Nick Hornby wrote the screenplay based on a book by Colm Tibn, as Hornby is no stranger to connecting with audiences via ABOUT A BOY, AN EDUCATION, and WILD.
It's also a huge bonus to have, without a doubt, one of the best young actresses of her (or any) generation in Saoirse Ronan (ATONEMENT, THE LOVELY BONES), who at 21 years old can not only carry a movie, but sweep you away with such quiet skill and subtlety. If anyone working today reminds me of a young Meryl Streep in looks and talent, it's her.
Mix all of that together to present an equal parts immigration and love story, and you get BROOKLYN, a simple, no-nonsense, old school tale that had me not just weeping, but straight up bawling for most of its running time. It may not be the best movie of the year, but it's hands down one of the best romances I've ever seen. Ronan plays Eilis, a young woman in a small Irish town who lives with her mother and sister. Wanting a better life than that of a whipping girl to the town Ogre's shop owner, Miss Kelly (a memorable Brid Brennan), Eilis gets a sponsored trip to America to start anew. Leaving her family behind presents the aching dramatic tension of this story, as well as her arduous trip across the ocean. On board, her bunkmate, a veteran of such crossings, teaches her how to properly assimilate into 1952 America.
Upon arrival, her sponsor, Father Flood (Jim Broadbent) finds her an upscale department store job and a boarding house run by Mrs. Kehoe (Julie Walters, who has a table pounding great time with her many quotable lines). MAD MEN's Jessica Par, in the snooty Parker Posey role as Eilis' new boss, manages to bring empathy to a somewhat bitchy role. Short on true Brooklyn atmosphere, the film, however, gets the emotions just right of a stranger in a strange land. Crowley knows how to use silence, glances, and breathing room in scenes to bring real feelings to the surface. Ellis is a strong yet observant character who can only contain her emotions for so long before they erupt, and I erupted right along with her. Cinematographer Yves Blanger, who kept his camera much more alive in WILD and DALLAS BUYERS CLUB, tends towards visceral, sweeping grandeur here, and appropriately so. Whether it's the musty views of a dark Irish street at night or the technicolor splendor of a crowded Coney Island beach, this is dreamy perfection. Also of note is the spot-on costume design by Odile Dicks-Mireaux and the just-right production design by Franois Sguin. The pneumatic tubes in the department store are just one great detail we get to savor.
More joy comes in the form of Tony (a star making performance from Emory Cohen), an Italian plumber who meets Eilis when he crashes an Irish mixer. Their love story is what makes this movie soar beyond all expectations. I can't recall the last time I witnessed a film where the puppy love and unbridled adoration just oozes off the screen. Cohen's sparkling eyes tell the whole story of what falling in love looks like. To say this pair has chemistry is an understatement in all its whooshy, gooey, innocent splendor. These two characters simply love being together, and the considerate, present, gentle tone of Cohen's performance redefines "winning". When is the last time you saw a film where the male protagonist rushes to wait outside a girl's school just so he can escort her home? Or when his declaration of love is done with such delicacy? I don't know if I cried because I was alone and dateless when I saw this film, or if I knew I was witnessing something so rare and pure, but the courtship scenes hit me in the gut.
Of course complications get in the way of the relationship when unexpected events dictate Eilis' temporary (possibly permanent) return to Ireland. Here, we're treated to one heartbreaking scene after another, a pile-on many may find insufferable, but I found to be truthful. Virtually unable to escape her tribe whether in Ireland or her U.S. boarding house, Eilis finds herself at a crossroads.
More than a love story, BROOKLYN is about figuring out your identity in life. Through Ronan's perfectly calibrated performance, we see Eilis change bit by bit. Introducing her Irish friends to her new culture, she meets another kind, young man, Jim (Domhnall Gleeson) who may impact the tough decisions that lie ahead. Ronan, Cohen, and Gleeson know what movie they're making, all of whom are unafraid of the gentle vulnerability in the script and direction. A special mention must be made for James DiGiacomo, who plays Tony's little brother Frankie. Stealing every moment with hilarious Italian hand gestures and direct, succinct comic timing, DiGiacomo feels like the kind of perfor -
ajoyce212 — 10 years ago(January 27, 2016 07:18 PM)
Well count Howard Stern as another person who is enamored with Saoirse. Howard and Robin were discussing the upcoming Oscars and Howard said he loved "Brooklyn", thinks/wants Saoirse to win the best actress award, and said she is the next Meryl Streep. Pretty high praise, Also Robin said she "has been watching her for a while" and mentioned her role in The Lovely Bones. Howard had no idea how to pronounce her name and in classic Howard humor poked fun and tried a few different ways to pronounce said Sushi at one point.
This was on the Tuesday Jan 19th show during the 6am hour and they mentioned the movie again later in the show during the news. -
Steve7216 — 10 years ago(January 28, 2016 03:05 AM)
I never would've expected to read a post title like this on Saoirse's board, but given the fact that he has a huge audience, the mention or two is great news because the film and her performance in particular was exposed to many more people.
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Steve7216 — 10 years ago(January 28, 2016 07:19 AM)
CATHERINE KRUMMEY: 'Brooklyn' one of 2015's best films
By Catherine Krummey Today at 6:15 a.m.
"Brooklyn" may just be one of the best movies of the decade.
The film is being widely promoted as centering around a love triangle between Eilis (Saoirse Ronan), a young Irish woman who moves to Brooklyn in pursuit of a better life in the 1950s; Tony (Emory Cohen), an Italian-American plumber she meets and falls in love with in America; and Jim (Domhnall Gleeson), an Irish rugby player she meets when she returns to Ireland to handle a family emergency.
Yes, Eilis feels romantic inclinations toward both men, but "Brooklyn" is a lot more than a simple love-triangle story. It is about growing up, figuring out your life and dealing with making hard choicesbecause of this, it feels remarkable modern, as if it could just as easily be set in 2016.
Many of the film's strengths center on the performance by Ronan.
She came into the limelight in 2007 f5b4or her standout supporting performance alongside Keira Knightley and James McAvoy in "Atonement." She even received an Oscar nomination at the age of 14 for the role. Since then, she has continued to impress in films such as "The Lovely Bones," "Hanna" and "The Grand Budapest Hotel."
She rightfully received her second Academy Award nomination for performance in "Brooklyn," which calls on her to stir up a wide range of emotions in the film's two hours.
Ronan appears in almost every scene in the film, and it is therefore on her shoulders to get the audience to go on the film's emotional journey. She is expert-level successful in portraying Eilis' quiet strength without needing a line of dialogue. Some of the best scenes in "Brooklyn" are her reaction shots, with her emotions stirring just below the surface.
As the two love interests, Cohen and Gleeson are both equally as charming and are well-developed characters. British character actors Jim Broadbent and Julie Walters also turn out great supporting performances in "Brooklyn."
The depth "Brooklyn" is able to achieve can be attributed to much more than its performances, though, from the storytelling (direction by John Crowley, screenplay by Nick Hornbybased on the novel by Colm Toibin) to the superb visuals, including the cinematography (Yves Belanger) and gorgeous vintage costumes (Odile Dicks-Mireaux).
Following last week's column on t16d0he Oscar snubs, I can say the Academy got it right with "Brooklyn." It is a well-rounded film and definitely deserving of its Best Picture nomination at this year's Academy Awards.
BROOKLYN
Four out of five stars.
Time: 1:51
http://tinyurl.com/zgaydfc -
Steve7216 — 10 years ago(January 28, 2016 05:35 PM)
Having seen both films, check out this as it contains an intelligent analysis of the two films:
http://tinyurl.com/hx9mbec -
Steve7216 — 10 years ago(January 28, 2016 06:58 PM)
It is well thought out and presented. The two films are quite different despite taking place in the same decade.
I just saw this tweet:
Gael-Kid @Kat_Manica 2h2 hours ago
The ad for Brooklyn so frequently and on many platforms, that I'm convinced I've seen the film.
I haven't seen any Brooklyn ads recently. Has anyone out there been exposed to these ads? -
Steve7216 — 10 years ago(February 06, 2016 06:57 AM)
Brooklyn review:
Saoirse Ronan shines in moving adaptation of Colm Toibin novel
February 7, 2016 - 12:15AM
Craig Mathieson
Film, music and TV critic
BROOKLYN
M, 112 minutes, opens February 11
Director: John Crowley Stars: Saoirse Ronan, Emory Cohen, Domhnall Gleeson, Jim Broadbent
It wouldn't be inaccurate to describe Brooklyn, a small and astutely observed drama about a young woman's disorientating move from 1950s Ireland to the United States, as a work laced with nostalgia. But John Crowley's film,
built around a remarkably evocative lead performance by the Academy Award-nominated Saoirse Ronan,
doesn't just look back wistfully at the5b4 past, it also transcends the period setting with powerfully timeless questions: Where do I belong? What can I make of my life?
Like so many of her compatriots, Eilis Lacey (Ronan) is leaving her Irish hometown of Enniscorthy to cross the Atlantic. It is 1951 and there is little employment, let alone opportunity, to be had, and it has been decided, as much by her older sister Rose (Fiona Glascott) as Eilis (pronounced Ay-lish), that will she will move to New York. Immigration here isn't a brutal necessity but it's nonetheless stark, and if Eilis feels burdened by expectations, others see her escaping her widowed mother.
At a local dance before her departure, Eilis momentarily pauses by herself, and you realise she is trying to remember this quiet and sometimes drab world, because memories are more important than anything she might pack. Moving to another country is not something lightly done, it is more akin to going into exile communicating by letter with home, not a single relative or acquaintance to call on.
The film observes Eilis' pain upon arrival in Brooklyn, where she fetches up in a boarding house run by the no-nonsense Mrs Keogh (Julie Walters), as homesickness and loneliness crash down upon her like waves, but it never wallows. Eilis is smart and dedicated, working as a department store clerk by day and studying bookkeeping by night with the aid of a kindly parish priest, Father Flood (Jim Broad16d0bent). She sticks it out, and you can't help but be invested in her struggle.
It helps immeasurably that Saoirse Ronan can detail intricate emotional divides with a fleeting acknowledgment and heartfelt gaze. The 21-year-old was always an exceptional child actor, particularly in 2007's Atonement and 2011's Hanna, but the otherworldliness conveyed by pale, piercing eyes has matured into something richer. Many of the moments, good and bad, that Eilis experiences are familiar, but Ronan captures how they felt when first experienced.
That eventually includes the attention of Tony Fiorello (Emory Cohen), an Italian-American plumber who falls in a serious way for Eilis. Played by Cohen with a lovestruck, masculine presence that expands on the innocent edge of Marlon Brando's performances from that era (particularly 1954's On the Waterfront), Tony gives Eilis a focus the first thing they share is just enriching conversation.
At one point they catch a session of Singin' in the Rain, and on the walk home Tony replays Gene Kelly's joy, leaping onto a lamppost. It's a minor moment, a speck in the relationship's formation, and Crowley is wise enough not to emphasise it. The filmmaker, whose last feature was the ho-hum 2013 London thriller Closed Circuit, makes the camera unobtrusive, but he misses very little.
It's only when Eilis is suddenly recalled to Ireland that you appreciate just how much she's grown and changed the yellow dress she wears feels like an act of sedition and that's what attracts an eligible local lad, Jim Farrell (Domhnall Gleeson), to her. Eilis has a glow and maturity that attracts the bashful Jim, and the two countries and their respective suitors make for a tidy but nonetheless compelling choice.
The film walks a fine line in that the conservative 1950s society Eilis lives in is all she knows: she fully expects to meet a man, get married and start a family. Unlike Cate Blanchett's character in Carol, her desire doesn't force her outside the lines. But Eilis never merely gives her assent, and there's a terrific through line of female comrades, from an older cabin mate on the voyage over to her formidable boss (Jessica Pare), who help the expatriate navigate America's unwritten rules.
As he did with 2009's An Education, Nick Hornby has penned a first-rate adaptation, here warm and drily witty. Colm Toibin's novel has been rendered as a deeply felt coming-of-age story, where anguish is as prominent as affection. When Tony takes Eilis out to the fields of Long Island, pitching her on the married life they might lead together, you can see what he's describing as readily as Eilis can. Brooklyn, like Eilis, makes much of her life.
http://tinyurl.com/jd2rqr3 -
Steve7216 — 10 years ago(February 06, 2016 04:54 PM)
CJ JOHNSON REVIEWS BROOKLYN
Tuesday, February 2, 2016
by CJ Johnson
4.5 STARS
Romantic, moving, embracing and thoroughly old-fashioned,
Brooklyn is a gorgeous film centered by a major performance by Saoirse Ronan, who is making no mistakes in fulfilling the promise she showed when she received her first Oscar nomination, for Best Supporting Actress, for Atonement, in 2007, when she was thirteen years old.
Now she's nominated for Best Actress for Brooklyn, and, were Brie Larson not the favorite for Room, it would have to be Ronan's to lose.
She carries this terrific picture, appearing in almost every scene, and at times director John Crowley simply frames her face in full close-up, in silent contemplation, and lets her eyes - and, thus, her inner life - let you know everything you need.
Ronan plays Eilis (pronounced Aylish), a young woman for whom there seem to be no job prospects in he5b4r native Ireland. A priest in America sponsors her to travel there, and she takes a passage to Brooklyn, where she learns to overcome homesickness, learn a profession, and open up her heart to a young man (an amazing turn by Emory Cohen).
There are other performers in the film - Julie Walters is wonderful, just wonderful, as the head of a small boarding house for young women in which Eilis lives, and so-hot-right-not Domhnall Gleeson gives a subtle and dignified performance -
but I cannot over-emphasize the degree to which Ronan bears the weight of this fine movie and is primarily responsible for its success. Just as Crowley, in every way, unashamedly uses the romantic filmmaking language of the fifties, so too does his movie embrace its own nature as an old-school "star vehicle".
It lives or dies on Ronan's performance, and it definitely lives, with energy and beauty and grace.
Nick Hornby has done a brilliant job of adapting Colm Toibin's novel, and all the art departments have done a sterling job in actualizing an Ireland and Brooklyn of the 1950s but also of the romantic mind. A stunner.
http://tinyurl.com/zxvn634